"The brand new cast of Opera Buenos Aires start very well. Its interpreters are outforwarding and communicative. The vocal interpreting parts are not fair but they made them sound with an impecable diction and didn´t show technical difficulties to overcome such an arduous chanting.”
Jettatore – Rattembach. Victor Bouilly (Convicción 12-7-80)

"... The interpretation of the new professional independent Opera Buenos Aires cast came to be excellent, because Jettatore does not lighten rythmic dificultéis to singers and instrument performers, requiring to the “regie” a very exact scenic measure”. Jettatore. Martin Müller (La Nación 11-7-80)

" … The same as Marta Blanco that with inteligente and personal abundant skills overcame those ungrateful and difficult parts she had to perform”. (Celos aún del aire matan - rol: Pocris – Teatro Colón).
Cesar Maragrini (Cronista Comercial 10-6-82)

“In her “Arrieta” on the second act the excelent Marta Blanco
had proved that for an artist there are no second rols”.
La Cambiale di Matrimonio. Victor Bouilly (Convicción)

“Marta Blanco and Eduardo Loureirio sang their parts with energy,
good voices and meticolous and well cared registers".
Abel Lopez Iturbe (Buenos Aires Herald 15-12-81)

“A singular worming voice, well worked as the one Marta Blanco has”...
Presentación del disco de Alicia Terzian. Juan C. Montero (Tiempo Argentino 28-8-83)

"… a high level artistic program animated by two excelent interpreters, the mezzosoprano Marta Blanco and the barítono E. Cogorno. Two highlighting voices, worked with articulating nobless, so as by it worming and colourful tone that came to be a fundamental element of importance in the definition of the play… These was heard from the singers when animating the first three duets of Schumann, in where the adjustment of an elevated rhythmic precision doesn´t allow any expressive liberty, constrast fo lights and shadows were included, well positioned, to highlight the touching melodies…The beutifullness of the vocal language of Mendelsohn and the no less communicative spirituality of Brahms, where a severe test for the singers, who overpassed them in triumph.
Marta Blanco and Eduardo Cogorno in individual and duets, reedited the effective realizations of the beginning of the rehearsal, confirming their majestic elocuent work and an outstanding musicalita".
Silvano Picchi (La Prensa 19-7-83)

"The last act of Madame Butterfly was scenified by excelent actor-singers. Marta Blanco –Suzuki- the mezzosoproano had already started the rehearsal with Nebbie, a beautifull song of Respighi and with Donna Lombarda of Pizzetti, closing with an aria of Magda of El Cónsul of Menotti. Her broad register is overwhelming and seductive with full graves, that give to her dramatic sayings a great brillancy. On her there start designing the profile of a great singer that depend on getting a definite vocal line".
Napoleón Cabrera (Clarín 17-6-85)

“… they enjoyed an exquisite quintet –maybe the best ever griten- as it was sang… and Marta Blanco.
We emphasis that the quintet component gave us a lesson on french chant and of stage”.
Carmen de Bizet – Teatro Colón. Napoleón Cabrera (Clarín 30-7-85)

" … Marta blanco very well in perfect vocal and scenic performance”...
Carmen de Bizet – Teatro Colón. César Magrini (Cronista Comercial 5-8-85)

“… and the real “dramatic act” of Un grido anche di viola of Salvador Ranieri
a poem of Pier paolo Pasolini where Marta Blanco reaches and outstanding creation”..
Encuentros de Música Contemporánea. Pompeyo Camps (Clarín)

“… The concert finished with the play ·”un grido anche di viola” of Salvador Ranieri…
Marta Blanco showed a touching expressiveness in conjunction with the group´s instrumental correctness”… Concert with the grupo Encuentros de Música Contemporánea. La Prensa 10-10-85

“The mezzosoprano Marta Blanco´s Dorabella was heard as todays most involving rol in her rising career.
Her aria at the beginning of the third screen “Smanie Implacabili” was beautiful and an
expressive mozartian example”. Cosi fan Tutte – Teatro Colón. Martin Müller (La Nación )

Dorabella in more sensual than Fiorgiliglie and gives up easily to the chase. But most of all is its duplicity what should be highlighted, and this was done by Marta Blanco in a perfect way. Without talking about her musical intelligence. A one more step-up alter her “smuggler of Carmen”. Those of us who have heard her in the repertoire of the XX Centrury are found infront a mezzosoprano of rare interpretative quality at an age that promises a higher level. Cosi fan Tutte – Teatro Colón. Napoleón Cabrera (Clarín 30-9-85)

“… Its worthy to highlight the mezzosoprano Marta Blanco -Annina- with her good shape that showed solid metal and worked with criteria” –El caballero de la Rosa – La Prensa 19-11-85- The mezzosoprano fellow citizen Marta Blanco made her way with worked and correct resources. Also her acting was stimulating.”
Cosi fan Tutte – Teatro Colón. Néstor Echevarría (Música Hoy - octubre 1985)

“… Marta Blanco –cherubin- started to grow in the second act with Voi
che sapete of exact liasons and perfectly well and promising performance”
Bodas de Figaro – Teatro Colón. Víctor Bouilly (Tiempo Argentino 13-10-86)

“… With much quality Marta Blanco gave life to the play. Is love who sees of Leo Brower.
Gave Marta Blanco the opportunity to show her soleist impressive ductility”. Concierto Ciclo Música en la Ciudad (Clarín) con el Grupo Encuentros Internacionales de Música Contemporánea que dirige Alicia Terzian.
Pompeyo Camps (Clarín 13-10-86)

“… Mostly expressive in these liric pieces was Marta Blanco, showing her habilities playing with delicate esfumaturas, sustained effectively by the piano player". Concierto Día Internacional de la Música – Salón Dorado – Grupo Encuentros Internacionales de Música Contemporánea. Betty Von Brown (La Prensa 13-10-86)

“… In which it had the colaboration of an argentine cast with the outstanding performance of… Marta Blanco…"
El Caso Makropulos – Teatro Colón. Martin Müller (La Nación 27-11-86)

“… Marta Blanco also in a praising vocal and actoral performance”
El Caso Makropulos – Teatro Colón. Abel Lopez Iturbe (Ambito Financiero 13-11-86)

“ The lovers of the so called “bel canto” can rejoice with the beauty of the vocal tone –in this very case of mezzosoprano Marta Blanco, in her difficult and inteligent rol-…”
Sinfonia Nº 1 de Roque Alsina Teatro Colón, Napoleón Cabrera (Clarín 5-7-87)

“…The excelent colaboration of soloist Marta Blanco… contributed to draw a version with nobless…"
Sinfonia Nº 1 de Roque Alsina Teatro Colón. Silvano Piocchi (La Prensa 15-7-87)

“Four songs opus two exponed by Marta Blanco with Guillermo Optz support on keyboard.
The insight strength obliged the intelligence of the mezzosoprano for her most vocal performance,
so effective in opera as in concert..." Solo Berg – Fundación Música de Cámara.
Museo de Arte Decorativo. Napoleón Cabrera (Clarín 20-6-87)

“… Very good work was made in these songs by Marta Blanco, that gave the exact expresión between intense and restrained requiered, just as the sounding relevance asks for”… (Solo Berg – Fundación Música de Cámara. Museo de Arte Decorativo). Alberto E. Gimenes (La Nación 30-6-87)

“… But the lirism that outstands in its depurated lines, gives presences and relevance to each of those fine pages, that the mezzosoprano Marta Blanco revived with intense poetry, in translations covered of sense and musicalita”. Solo Berg – Fundación Música de Cámara. Museo de Arte Decorativo.
Silvano Picchi ( La Prensa 16-6-87)

“... The oda of H. Guitierrez, from where the mezzosoprano builds up
an even more qualified and expressive creation”.
(Concierto Banco Rio con grupo del E.I.M.C. Pompeyo Camps (Clarín 16-8-87)

“… The interpretation of “ O King” of L Berrio, in which dramatic and lonely speech the author tributes homage
to the American Shepard murdered reaches the correct translation in the suggestive voice of Marta Blanco… The fine musicality of the mezzo Marta Blanco broke into applauses in many numbers of
“Libro de poemas y canciones” of R. Arizaga songs sang with sensible finness”...
(Concierto Banco Rio con grupo del E.I.M.C). Silvano Picchi (La Prensa )

“... The vocal work was rolled by Marta Blanco, mezzosoprano of beautiful tone,
undoubtable musicalita and interpretative imagination…”
(Concierto con grupo del E.I.M.C Teatro Coliseo. Pompeyo Camps (Clarín 19-9-87)

“… A wonderfull work of the argentine singers because of their ductility full of style on its pieces.
It´s worthfull to name… Marta Blanco…”. (Mahagonny – Teatro Colón).
Felix Carlos Cappelletti (Correo Musical Argentino – diciembre 1987)

"… Luis Gaeta –Gobin-… and Marta Blanco –Baronesa- both of splendid voices and notable histrionic
resources demostrated how much one can get with talent and a good disposicion.
Pompeyo Camps -Clarín 16-3-88-

" … The soloist Marta Blanco showed her rol with selfconfidence and clear diction made by her beautiful tone, skills not easy to find in such a difficult enterprise ” (Concierto con la Orquesta Sinfónica Nacional,
obra Le Voci Morte Dir. Rotter). Alberto Devoto ( La Prensa 26-7-88)

“… Three eternities of our fellow citizen Hipólito Gutierrez on the lines of J.R.Jiménez with part the soloist was magnificently sang by mezzosoprano Marta Blanco...”
Concierto con lo Orquesta Filarmónica del Teatro Colón – dir. D` Astoli. Pompeyo Camps (Clarín 15-9-88)

“...Marta Blanco gave life to these poetic pieces presenting and expressiveness and a vocalism that gave conceptual unity to the play". Concierto con lo Orquesta Filarmónica del Teatro Colón – dir. D` Astoli.
Silvano Picchi ( La Prensa 13-9-88)

“… In “Sueños de Yerma”… Irma Urteaga makes a dramatic-expressive style with only a few signs of virtuousness where the obscure and very expressive voice of the soprano Marta Blanco transmits, with conviction, a tragic atmosphere of the Tepic...” Concierto con grupo del E.I.M.C en Landesgirokasse Stuttgart. Werner Müller – Grimmel (Stuttgarter Zeitung 13-12-88)

Les Nouvelles de Huts – de Deine – et de l´ile de France 25-1-89 – Francia

“… Grito –of Edgard Alandia- is a cry made “a capella” of a poem of Neruda done by the mezzo-soprano
Marta Blanco, tragic and moving…” (Concierto EIMC – Orleans – Francia).
M.M. Les Nouvelles d´Orleans – Francia

“… Grito of Edgard Alandia, Three beautiful vocalizations performed by Marta Blanco…”..
(Concierto EIMC – Orleans – Francia). L.F. La République (du centre) Francia 29-11-88

“… “Es verdad”, of a very touching and well thought formal structure, and “Canción del Jinete” will be difficult to forget. Where given to us with full conviction and Marta Blanco´s unique intelligence whose voice of obscure tone catches very accurate dramatic encounters…" (Concierto EIMC Salón Dorado Teatro Colón).
Napoleón Cabrera (Clarín 13-4-89)

“… Well set, the purely vocal part –Marta Blanco and the piano player Claudio Espectro- put together the
Three songs Op.1 of Marcelo Koc –of a fundamental expressive accertness in a candide and innocent environment- and the Alban Berg´s Op.2 that bring forward harmonies and encounters of future operas.
Blanco knows how to say and musicalize. Her insight gifts is fundamental to transmite heartfullness...”
(Concierto EIMC Salón Dorado Teatro Colón). Napoleón Cabrera (Clarín 13-4-89)

“… Alter came the songs of Berg and Webern. Marta Blanco presented them in an excelent way, well accompanied by Claudio Espector…”.. (Concierto EIMC Salón Dorado Teatro Colón).
Alberto E. Gimenes ( La Nación 17-9-89)

“…Marta Blanco is a singer whose musical high intelligence matches with her dedicated study of what she tunes: text, aesthetics, expressive intention. All of those should be followed by her fans”.
(Concierto EIMC Salón Dorado Teatro Colón). Napoleón Cabrera (Clarín 13-4-89)

“Blanco performs with great passion as actress and singer, Blanco performed unaccompanied and in dramatic lighting “grito” (cry 1980) by Edgar Alandia…” Robert Commanday (San Francisco Chronicle 10-10-90)

“… of greatest interest were those in Spanish, especially Marta Blanco´s passionate interpretation of Edgar Alandia´s unaccompanied monodrama ´Grito´ to a social critique text by Pablo Neruda”.
Paul Hertelendy (San José Mercury News 10-10-90)

“…La tentación de San Antonio ” for the mezzosoprano and orchestra of Tener Egk,
had all the charm and flexible style animated by the Slovakian componer, it was interpreted by
Marta Blanco with a beautiful tone and an appropiate sense of the colour…”
Héctor Coda (La Nación 16-5-92) (Bs.As.)

“… Without changing the substance, Bodas de Sangre was danced, sang had talked with such an emocional and visual strength that doesn´t decay… with and excelente Marta Blanco.. in the Teatro Avenida”.
Napoleón Cabrera (Clarín 20-1-95)

“… The first casting roles that on Friday and Saturday gave the audience a remarkable liric
and coreographic show, was characterized by an excellent interpretative quality shown in pieces
of great composers. Marta Blanco is one of the most famous argentine mezzosopranos…”
Pregon de S. S. De Jujuy 23-4-95

“… in a large section sang beautifully by the mezzo Marta Blanco, was heard “La música de las Américas...” Harry Rolnick (South China Morning Post – 12-10-95 – Hong Kong )

“… And Marta Blanco as The Captain and The Lady in wait had by far outstanding qualifications to be on top of her short interpretations…” Ricardo Turró (Correo Musical Argentino – Junio 95)

“… In regard to the feminine parts, the mezzo Marta Blanco -Lola- showed, in contrast, that she could sep a registre of quality, very homogenious of catchy metal”. (Caballería Rusticana – Sinfónica Nacional P. I.
Calderón – Auditorio de Belgrano). Gualtier Maldé (La Prensa 12-8-95)

“… Acting with an impecable correctness, in the same way as the three gods Marta Blanco…”
(La Incorporazione di Popea – Teatro Colón – dir. René Jacobs). Gualtier Maldé ( La Prensa 6-6-96)

“… Tango is a tough matter. One doesn´t only need excelent vocal chords as the once Plácido Domingo has… the careful delivery of Marta Blanco in Cristal, so as not to mess it up with bellechanting impostations”.
(CD “Tangos y algo más”. Eduardo Giorello (El Día 10-5-99)

“... Marta Blanco sang diese insgesamt sehr schwierigen Lieder mit der technischen Sicherheit und der klingenden Stimmegebung der anderenen Sängerin...” (Argentinisches Tageblatt – 22-5-99)

“… These songs, so different in their characters, like very much specially through the magic recreation that the singer brings, because her wholesome and flexible tone gives light to the texts in each tune and phrase.
In this way she finds for each song, followed empathically by Claudio Espector , the correct expression. She dominates with such perfection her voice, that the technic, in the consciousness of the hearer drains lightly because of the power of the interpretation. A pack of argentine chosen songs, full of charm and interpreted with talent, set on a record that should not be missing in any record collection.”
(CD Argentine Songs Vol. II). (Argentinisches Tageblatt – 22-8-99)

“...Its songs,ravishingly sung in this performance by operastar Marta Blanco.”
Ian Skidmore (Daily Post feb.2001)

"… The singer M. Blanco gives much more than just her deep and communicative voice in all she tunes:
some of her messages should be chosen if one was to select in soundings of an epoch”.
Napoleón Cabrera (Vea más Bs. As. agosto-2001).

" … It would be just enough to the reader to read the program of this rehearsal to give weight
to what someone as Marta Blanco can do in this latitudes, giving all to a selective and exacting audience.
The public that overwhelmed the theatre, could also appreciate her exact technic
and her broad interpretative skills to deliver an original stylistic insighting of it."
Héctor Coda (La Nación – 24-5-2005)

”… The cast of “De Película” is responsable of an artistic high quality and notable show,
that performs a selection of most beautiful compositions. It´s not easy to find in the Buenos Aires
show billboard the exact voices to perform a musical comedy. More over of authors like Frederick Loewe, Richard Rodgers or Andreq Lloyd Weber. Generally we find poor voices, that want to compensate
with charm their lack of technic or of vocal power, or else with “acceptable” good interpreters that they
disguise with their actoral skills that they don´t sing sufficiently well. And unfortunately there are
some others that with their untuning, or even with their shouting, make us think seriously,
to get up and run out of the show, to make ourselves an audiometry after such a huge auditive effort."

"These kind of music requires, apart of a solid liric formation, special grace and freshness that Marta Blanco has by herself. Her interpretations of “I could have danced all night” –from My Fair Lady- George Cukor -1964- “Over the Rainbow” –from “El mago de oz” –Victor Fleming 1939- or “The sound of music”
–of "La novicia rebelde” –Robert Wise- 1965- are at the level of quality of the voices
that have immortilized this songs, from Julie Andrews to Judy Garland."
El Leedor 25-11-05

“...and if her ensamble sounds impeccable... is the mezzosoprano Marta Blanco that
catches us up with the admirable ductility of her voice, with its thousand sinuosities that unwebs
with supreme refinement and exquisitiveness”...
René Vargas Vera. La Nación 6 -10-2007

…Virtu Maragno's “Baladas amarillas” (1952) well-sung by Blanco…The early “Cabaret songs” (1937-39)
by Britten are light and agreeable and were well done by Blanco… And Roussel's “Two poems of Ronsard”
(1924) for flute and voice. Goods jobs from mezzosoprano Marta Blanco and flutist.
Pablo Bardin - Buenos Aires Herald 10-10-2008

“…M. Blanco sings with darker tone of mezzosoprano. She sings on the breath sul fiato.
To the end, keeps the sound concentrated on the breathing. Show of the vocal technique
to the service of the lyrical interpretation. Sound and sense.
Osvaldo Andreoli - Culture Radio, August 2010.

"Mezzosoprano MB’s voice’s sumptuousness is rich in dynamics and travels freely through the room. Both singers show opening and diverse acting skills while playing the different situations and feelings that the characters that they play are going through. MP staging generates a deeply expressive climate creating a proposal of high artistic level that cannot be missed by the audience." Graciela Morgenstern (Pag. Asociación Críticos Musicales 27-7-2013)

Both Blanco and Prémoli have worked together in recitals of songs for many years...The selection of mostly Twentieth-century music this time was strongly in favor of tonal melody…Next came a real surprise: Three Lieder on Einchendorff texts by famous Bruno Walter. Menotti, Barber… In both cases, strongly felt music with a true knowledge of the human voice... Even the encores was very interesting. Blanco and Premoli are two solid veterans and they know what they do. Her voice sounded a bit fragile at first but soon took body and range, and the pianist was always in the picture.

(September-2013) Pablo Bardin
Buenos Aires Herald

Marta Blanco’s voice’s technical transmission, waving and tuning were perfectly jointed with a precise diction. The different chords privileged the vocal showing in all 3 Satie’s Melodies. A different style experience and the feeling to enjoy this short music jewels, created by composers was present during the entire concert. The artistic abilities of the performers were perfect along with the repertory selection.

(September-2013) Osvaldo Andreoli
Diario Armenia

“The audience responded warmly before “The daughter of the regiment”? there was enthusiastic laughter for the funny performance by baritone? and Mezzosoprano Marta Blanco”.
El Mercurio Newspaper - 8-3-2014 (Chile)

“The Marquise (Marta Blanco) received all of the laughter last night”.
El Austral 2.8.14 (Chile)

"Marta Blanco’s mezzo voice is dark and rich, and adapts well to Webern’s songs"
Fragment by Gary Higginson in regards to CD – 40 Years of Contemporary Music by Encuentros Grupo, conducted by Alicia Terzian.  

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